Mundo grúa

Whoever is saying this movie is aimless probably didn't get it. Every scene has some significance that builds on the characters. It felt like it could have been made in any time period, it was so simple and relatable. The pacing was actually rather quick, I don't think there was a single scene over 2 and a half minutes. I didn't want it to end. Everything felt so tangible, the sights, the sounds. On certain shots the exposure is completely bonkers and I don't think it was intentional. Like some shots look like complete garbage, grainy, but for the most part the movie was actually gorgeous. Almost every scene was a static shot, and the movie did not need anything more than that. They don't harp on any one thing too much, and almost every shot has a different, and well thought out design. I didn't feel like a lot of the shots were repeats, except for where it was deliberate. A lot of beautiful images and scenes in this film. I watched it completely randomly while browsing Mexico Netflix (have no idea how that even happened lol) and it was just a treat. If you're a fan of film in general and want a nice relaxing watch, with little conflict, and the main character making friends this is the movie for you.

Director Pablo Trapero's film 'Mundo Grúa' inquires whether one is really on top of the world merely by sitting in a crane which is used to construct sky scrapers ? The answer is in negative as one is on top of the world only if he/she has a respectable job which enables people to lead decent lives. For this film, Argentine actor Luis Margani is excellent as his acting performance makes us wonder how fast the lines between fiction and reality have blurred. Cobi Migliora's black and white photography does wonders to depict an honest account of the life in Buenos Aires. It is said that family is the unit which ties humanity. This is also the case with the protagonist whose immediate family is always around him in the form of a wayward son and an anxious old mother. Mundo Grúa is one of the most original films to have come out of New Argentine Cinema. It depicts how severely ordinary people are affected by employment crisis. Their plight is further worsened when there is no guarantee that they would be provided with decent meals on different construction sites located all over Argentina. The viewers get to see how choices have to be made by ordinary people in order to be alive. Despite its serious theme, this film does not lose focus even while depicting scenes of humor.

There are some moving scenes, and the characters seem to have some life in them, but overall this Boy-Meets-Job movie loses its way too often.

Plot details that seem important are never mentioned again. Relationships are neither clarified nor advanced. People seem to be struggling, but it's unclear what they're struggling against. It's an interesting mess, but a mess all the same.

When this film was originally released I had the chance to see it on the big screen. It did have a rather limited release; it didn't have support from a private television station and exhibitors didn't have much confidence in it. No stars are in this film, only people who usually play supporting roles in soap operas or in the theater.

But the results were first rate and eventually television made people aware of its worth. All of the actors are excellent and engaging. The black and white cinematography is terrific. The best Argentinean films were not photographed in color and this production is worthy of that tradition.

Francisco Canaro's famous waltz, "Corazón de oro", is used as the film theme with great success. Although written in 1928 (reworking his unsuccessful 1925 tango "París"), his music emerges naturally as it was intended to be used in this film. Director Pablo Trapero did a find job, reediting Canaro's 1951 recording.

The story of a nice guy whose youthful dreams were shattered and has to struggle with Argentina's crisis as well is still a very good movie.

That's really all one can compare this film with. One of those verbal slices of life that no one really listens to unless trapped in a moving car on a transcontinental highway about a hundred miles outside Albuquerque.

Not that it's entirely boring. The script and direction are coherent, and the viewer can certainly identify with the main character as another poor schmoe who's been run over by life, with no way out. In a way, it elicits a positive reaction because Rulo, the fiftyish and overweight protagonist, never seems to lose spirit as he suffers one telling blow after another.

As with many other recent films coming out of post-fascist South America, it is moreover revealing of the intense personal struggles these basically European people have faced as time continues to run against them in terms of their general redundancy within the context of a world economy.

In a word, sad. But I would watch it again if only to find those small connections with a more universal meaning, like how important it is personally not to give up against great odds. For all his problems, Rulo still possesses the love of his friends, his family, and his sweetheart.